For this week’s version of #AnyGivenSunday Cole took to twitter and released the tracklist for his debut. With a month to go we now have the singles, artwork & tracklisting. He finally got that Jay-Z feature and he also found Missy Elliot in someone’s basement.
1. Intro
2. Dollar and a Dream III
3. Can’t Get Enough ft. Trey Songz
4. Lights Please
5. Interlude
6. Sideline Story
7. Mr. Nice Watch ft. Jay-Z
8. Cole World
9. In The Morning ft. Drake
10. Lost Ones
11. Nobody’s Perfect ft. Missy Elliot
12. Never Told (Prod. by No I.D.)
13. Rise and Shine
14. God’s Gift
15. Breakdown
16. Cheer Up
Bonus Tracks:
17. Nothing Lasts Forever
18. Work Out
19. Daddy’s Little Girl
I don’t know about the rest of you’s but I’m a Dream fan and so far he hasn’t disappointed as far as albums go. This should be a good one. Tracklist below.
01. Wake Me When It’s Over
02. Used to Be
03. Long Gone
04. Ghetto (Feat. Big Sean)
05. Wedding Crasher
06. Rolex (Feat. Casha)
07. Silly (Introducing Casha)
08. 1977 (Miss You Still)
09. Wish You Were Mine
10. Real
11. Form of Flattery
For the fourth installment of “Any Given Sunday” Cole gives drops off the official artwork for his album Cole World: The Sideline Story and a behind the scenes look at him previewing a song in the studio.
For those of us that are J. Cole fans… we have been waiting quite some time for this moment. The buzz around this album has grown louder with every video, song & story posted. We are now a little over a month away and AHH has an exclusive preview. Check below.
Last night at Roc the Mic Studios in New York City, rapper J. Cole played his nearly completed and highly anticipated debut album, Cole World: The Sideline Story, for a number of music industry writers, bloggers, and music appreciators.
Cole took the floor very casually and began the listening session by declaring his nervousness and intimidation for letting us hear the album. It was a humble and defining act that showed us just how important this moment was to him. You see, while he has played the album for a number of RocNation employees and fans, this would be the first time it would be heard by “the critics.”
He let us know that what we would be hearing was not a finalized sequence of the album’s tracklisting, but that for the most part, this was the album the world will be hearing in a little over a month. We were provided with song names, but were asked not to publish them or specific lyrics, since there is a possibility that they could change by the time the album is turned in.
With that in mind, here is a track-by-track preview of Cole World: The Sideline Story:
Track 1
Over a beat co-produced by The University, Cole explodes over strings, a booming bass, and multiple “switches” which he credits to his own role in the song’s production. The bass breaks down during the hook and continues as Cole begins his second verse. Piano keys are introduced as the beat breaks down once again. The instruments change throughout the song, coming in and out at the most essential times, as the bass just knocks. This is one that the fans who have been riding with Cole since The Come Up days will anticipate once they see the song title.
Track 2
An unfinished version of this song was leaked back in early June. It was titled “Cheer Up” back then, no comment on its current name. This song finds Cole singing a hook dealing with the negativity that is attached to the positive things he is doing in his life and that as down as some things may get him, he won’t complain about them.
Track 3
After two great tracks, Cole unleashes what I think is the most impressive beat yet, and yes he produced it. Over what I can only describe as “hard-ass” bass, Cole unleashes some witty verses over his own personal ode. You’ll know it when you hear it.
After the third track was over, Cole let us know that this is where he believed his song “Lights Please” from his The Warm-Up mixtape would go. He then told the room a story about how this was ultimately the song that got him the deal with Jay-Z after Cole’s now manager, Mark Pitts had the song played for him in his office. Both Mark and Jay, who heard the track six months later, had the same response, and knew that they had to sign him as soon as possible. Because of this, he felt it was only right to have the song included in his debut as well.
Track 4
The song starts with a Jay-Z sample from the iconic 90′s film Backstage playing. The chorus begins once the sample ends and Cole then kicks off his first verse over harmonies playing behind him. There is a hook where J. Cole sings as “ratatat” noises blast off in the background. The second verse and hook follow and shortly after the song ends.
Track 5
This is the song Cole proclaimed as his favorite on the album. Over building strings Cole tells several stories, and in the third verse he speaks directly to his mother, asking her not to break down. Flutes and a very soulful piano help the song ride out, but not before Cole comes back in with a harmony to cap the song off. It ends up coming to a close over a synthesized piano and strings. This seemed like the most personal song I had heard so far that night.
Track 6 (Skit)
Over light piano strings, Cole tells a short story about the night he got the text message telling him he got the deal from Jay. Moments later he was pulled over for an outstanding warrant over a drivers license issue he had in the state a few years earlier. He goes on to say that it was the easiest night in jail because he knew as soon as he got out of there he was signing his name on the dotted line and his career would kick into overdrive.
Track 7
This song is essentially a guideline to make it off the sideline and finds Cole singing a hook about how to make it to the big game. The first verse finds him mentioning Liu Kang, Martin Luther King Jr. and his wife Coretta in a very witty fashion. He later raps a verse about himself going up against Jay-Z and later about how his hooks could knock Rocky out. There is a piano that plays until the end of the song.
Track 8
This is the craziest sounding song on the album and my personal favorite that I’ve heard so far. There is a mixture of video-game, Tron-sounding, futuristic noises blaring throughout the intense bass. I know that description sounds ridiculous, but it has to must be heard to truly be appreciated. The first verse finds Cole rapping double-time at first and then slowing down as the futuristic noises resonate and weave throughout the bass which ends up cutting out and then almost immediately re-dropping before the second verse. If I had to compare this song to anything I’ve heard recently it would have to be “Who Gon Stop Me” from Watch the Throne. This song just sounds 10 times better than that.
After the song ends Cole tells us that this is where the previously released “In the Morning” will go. The Drake featured song was a radio hit when it was released, and Cole says that it hasn’t ran its course yet; that there are still people and places that have yet to hear it and need too, and that it doesn’t hurt to have last year’s biggest name in rap featured on his debut either.
Track 9
There was a rough version played for us because the song was only recently completed and features someone that many people would not expect and would be surprised to see and more importantly hear on Cole’s debut. Without giving the guest away, I will say that she is a female rapper who’s hook was written specifically for her in hopes that she would capture the Aaliyah-ish vibe that Cole was looking for. After her wonderful intro, Cole begins his first verse off beat but eventually ends up lining up perfectly after the first few bars when the bass drops. The hook comes back in and as it plays, he abruptly ends the song to tell us the very intriguing story of how the collaboration came to fruition. This song is certainly a pleasant surprise and sounds right at home on the album.
Track 10
Cole tells us that this is a “very personal record.” Turns out it is the previously leaked and critically applauded “Lost Ones.” The first verse finds Cole rapping from the man’s perspective in a relationship where a child is on the way. The second verse is told from the woman’s perspective. Overall this is like he said, a very personal record. Relationships, abortion, and marriage are all topics found within his lyrics.
Track 11
This is the new single from Cole, “Can’t Get Enough,” featuring Trey Songz. Soon to be on radio everywhere because this right here is the definition of a “hit.” They recently filmed the video in Barbados, and it should be premiering any week now.
Track 12
Before the song starts Cole tells us that this is the only No I.D. produced track on the album due to issues with sample clearances, but that it is one of his favorites that the two of them worked on. With a crash in the background and a slow buildup, the first verse begins. After the first verse there is a short dialogue between a father and son. After the second verse there is another short dialogue between a boyfriend and girlfriend. Over synths, the third verse concludes, as a sample of a comedian, I’m not sure who, repeats a short part of their act to an audience.
Track 13
This is the last song that was played for us and we’re told it will also be the last song on the album. The reason that you haven’t seen a mention of that infamous Jay-Z verse in this preview yet is because this is where that feature is intended to go; if Cole gets it in time. He says that he has come to terms with the fact that he may not and that it will only add a motivational chip to his shoulder. When asked why this is the one he wants the feature for, he tells us that as a fan, of all the songs he has, this is the one that he would most want to hear Jay-Z on.
After a slow 10 second build, the first verse starts and while the lyrics and content are 100% Cole, I can’t help but hear a strong similarity to the way Kanye West sounds here. This may be a further reason why Jay would be so perfect on this. Cole does the second verse, once again sounding very Kanye-like, and as we wait for the third verse to drop, the song ends. We are told that this is where Jay’s verse would go, and that if he does not get it in time, he is prepared to write a third and final verse to the song, which will ultimately conclude the album.
The last few songs are a little bit slower and more moody, which Cole attributed to the “winding down” of the album, but that he does not know if that is a good thing or bad one yet. He has been looking back to the tracklists for artists like Jay-Z, Kanye, and Drake to see how they sequenced their albums. It is tidbits like this that just show how hands on he has been throughout the entire album’s process as it truly is his baby.
And with that, the night’s album preview is over.
After a round of applause, several questions are asked that Cole is glad to answer. He reveals that he is equally proud of every song on the album and does not yet know where his current single “Work Out” will be placed in the album’s sequencing. He is very proud of one song in particular that he produced (Track because it sounds like nothing he has ever done before and he is glad that he was able to stick to his word on keeping the features on the album light.
He reveals that in total, not including what ended up on his mixtape Friday Night Lights, he had 30 records to choose from to create his album. He is so proud and believes so much in what he has created that he has already begun laying out the blueprint for his second album.
Conclusion:
Overall, J. Cole has created an album that is new, fresh, and true to not just himself but to Hip-Hop. This is what the people have been anxiously awaiting. There is no shortage of the Cole that fans are used to, and equally as much growth can be found in the album’s lyrics, content, and top-notch production. For an album that is still being called a “work-in-progress,” it sounded very much complete to me, and I personally believe that it will live up to the expectations and even surpass them once it has time to be digested the right way. Those that are banking on the album’s ability to be a “classic” on whether or not he gets a Jay verse are going to be disappointed because Cole has created a “classic” without it, a “classic” debut that is.
Weezy is set to drop his 9th solo album on August 29th. So far he has let go of 4 songs off the Carter IV. Below is the tracklisting to the deluxe edition.
01. Intro
02. Blunt Blowin
03. MegaMan
04. 6 Foot 7 Foot (feat. Cory Gunz)
05. Nightmares Of The Bottom
06. She Will (feat. Drake)
07. How To Hate (feat. T-Pain)
08. Interlude (feat. Tech N9ne)
09. John (feat. Rick Ross)
10. Abortion
11. So Special (feat. John Legend)
12. How To Love
13. President Carter
14. Its Good (feat. Drake & Jadakiss)
15. Outro (feat. Bun B, Nas, Shyne & Busta Rhymes)Deluxe Bonus:
16. I Like The View
17. Mirror
18. Two Shots
Game will drop his next album on August 23rd. That’s my birthday so hopefully it will be a treat. Judging by the features it should be hard to disappoint.
1. Dr. Dre Intro
2. The City (Feat. Kendrick Lamar)
3. Drug Test (Feat. Dr. Dre, Snoop Dogg & Sly)
4. Martians Vs Goblins (Feat. Tyler, The Creator & Lil Wayne)
5. Red Nation (Feat. Lil Wayne)
6. Dr. Dre 1
7. Good Girls Go Bad (Feat. Drake)
8. Ricky
9. The Good, The Bad, The Ugly
10. Heavy Artillery (Feat. Rick Ross & Beanie Sigel)
11. Paramedics (Feat. Young Jeezy)
12. Speakers On Blast (Feat. E-40 & Big Boi)
13. Hello (Feat. Lloyd)
14. All The Way Gone (Feat. Mario & Wale)
15. Pot Of Gold (Feat. Chris Brown)
16. Dr. Dre 2
17. All I Know (Feat. Lu Breeze)
18. Born In The Trap
19. Mama Knows (Feat. Nelly Furtado)
20. California Dream
21. Dr. Dre Outro
9th will be dropping this album on September 27th. It features Erykah Badu, Kendrick Lamar, Murs, Phonte, Kweli, Warren G, Marsha Ambrosius, Mac Miller and more. Hopefully we will get that documentary with it… word to Justyn Waves.
1. Make It Big ft. Khrysis
2. Band Practice Pt. 2 ft. Phonte & Median
3. Enjoy ft. Warren G, Murs & Kendrick Lamar
4. Streets of Music ft. Tanya Morgan & Enigma of Actual Proof
5. Hearing The Melody ft. Skyzoo, Fashawn & King Mez
6. Loyalty ft. Masta Killa & Halo
7. Now I’m Being Cool ft. Mela Machinko & Mez
8. Never Stop Loving You ft. Terrace Martin & Talib Kweli
9. Piranhas ft. Blu & Sundown of Actual Proof
10. Peanut Butter & Jelly ft. Marsha Ambrosius
11. One Night ft. Terrace Martin, Phonte, & Bird and The Midnight Falcons
12. Your Smile ft. Holly Weerd & Thee Tom Hardy
13. No Pretending ft. Raekwon & Big Remo
14. 20 Feet Tall ft. Erykah Badu & Rapsody
15. That’s Love ft. Mac Miller & Heather Victoria
16. A Star U R ft. Terrace Martin, Problem & GQ
1. When I Get Free
The number one reason you should cop my new album is because it’s the newest material I’ve released since I came home from jail. That’s the number one reason. It’s the newest Gucci album out. It’s the hottest thing that everybody’s gonna be talking about. I’m so excited about this album. I think it’s just a blessing that me and Waka even got a chance to do an album together. Just having this opportunity to do this and put it out there, I think the people are going to love it.
2. Back For The First Time
Second, this is me and Waka Flocka’s first collaboration. We never did a mixtape together. This is the first time we put all of our songs together out on an album. It’s raw and for the streets. We feel like this is the time. We wanted to do something real special. We decided to go all in and we’re gonna do this for our city. He came to me with the idea and said, “Let’s do an album together.” So we just did it.
3. Hood News @ 11
The third reason is if you want to know what’s going on in the inner city and don’t know, then you’re a square. But if you’re just not in-tune with what’s going on, you’re definitely going to get informed by this album. It’s very informative on what’s going on in the city and in the hood. You’re gonna learn about the latest trends, what’s hot and what’s not, when you get this album. I really want people to check out the song “Stoned.” I feel like it’s gonna be a really big record. I feel like “Stoned” is the first hit me and Waka are gonna get together as a group. It’s about being in the club, having fun. It’s just about going out, balling. I think a lot of people are going to feel the song. It’s going to hit the radio really hard and we’re gonna follow it up with a video.
4. Meet Me On The South Side
The fourth reason is because we have some of the best producers in the game on here. We got a producer on the album called South Side. I know you’ve heard a lot from him and you’re going to hear a lot more from him in the future. We got Drumma Boy on there too. South Side did about seven or eight tracks so people are going to like what he did for this album. I really had a good time with Drumma. That’s one of my favorite producers in the game and South Side as well. It was just a pleasure working with people who brought that energy. Me and Waka didn’t even write no lyrics, we just freestyled the whole album.
5. Club Smashin’
The fifth reason is because we have this song on here called “She Be Puttin’ On.” That’s our first single. It’s for the guys and the girls. We shot a video for it too. The song is already going crazy in the club so once you see the video, I think you’re going to love it.
The long awaited collab will drop August 8th on iTunes and hit stores August 12th. They have also confirmed this tracklisting. The tour dates are listed below.
9/22/11 Detroit, MI Palace of Auburn Hills
9/24/11 Toronto, ON Air Canada Centre
9/25/11 Montreal, QC Bell Centre
9/27/11 East Rutherford, NJ Izod Center
9/28/11 East Rutherford, NJ Izod Center
9/29/11 Washington DC Verizon Center
10/4/11 Philadelphia, PA Wells Fargo Center
10/6/11 Chicago, IL United Center
10/7/11 Chicago, IL United Center
10/8/11 Minneapolis, MN Target Center
10/10/11 Denver, CO Pepsi Center
10/13/11 Tacoma, WA Tacoma Dome
10/14/11 Vancouver, BC Rogers Arena
10/16/11 San Jose, CA HP Pavilion
10/17/11 Sacramento, CA Power Balance Pavilion
10/19/11 Los Angeles, CA Staples Center
10/20/11 Los Angeles, CA Staples Center
10/21/11 Las Vegas, NV MGM Grand Garden Arena
10/25/11 Dallas, TX American Airlines Center
10/26/11 Houston, TX Toyota Center
10/29/11 Atlanta, GA Philips Arena
10/30/11 Greensboro, NC Greensboro Coliseum
11/1/11 Baltimore, MD 1st Mariner Arena
11/3/11 Boston, MA TD Garden
This will drop on August 9th. Pre-order here.
1. Ferrari Boyz (produced by Drumma Boy)
2. 15th And The 1st featuring YG Hootie (produced by Joshua “Southside” Luellen)
3. Break Her (produced by Schife)
4. Feed Me featuring Frenchie (produced by Joshua “Southside” Luellen)
5. Mud Musik featuring Titi Boy aka 2 Chains (produced by Joshua “Southside” Luellen)
6. In My Business featuring Rocko (produced by Shawty Redd)
7. Young Niggas (produced by Joshua “Southside” Luellen)
8. Suicide Homicide featuring Wooh Da Kid (produced by Joshua “Southside” Luellen)
9. I Don’t See U featuring Ice Burgandy (produced by Joshua “Southside” Luellen)
10. PacMan (produced by Joshua “Southside” Luellen)
11. Stoned (produced by Shawty Redd)
12. She Be Puttin’ On featuring Slim Dunkin (produced by Joshua “Southside” Luellen)
13. So Many Things (produced by Fatboi)
14. Too Loyal featuring Slim Dunkin (produced by Fatboi)
15. What The Hell featuring Rocko (produced by Drumma Boy)
Below is Gucci and Waka in the studio.
Props to DDotOmen
Standard Edition Tracklist
1. No Church In The Wild feat. Frank Ocean (Prod. By Kanye West, Mike Dean & Ken Lewis)
2. Lift Off feat. Beyoncé (Prod. By Kanye West, Mike Dean, Jeff Bhasker, Q-Tip & Don Jazzy) (Add Vocals. By Seal, Mr Hudson, Don Jazzy, Bankulli and Ricardo Louis)
3. Niggas In Paris (Produced by Hit-Boy)
4. Otis feat. Otis Redding (Produced by Kanye West)
5. Gotta Have It (Produced by The Neptunes)
6. New Day (Produced by The RZA)
7. That’s My Bitch (Produced by Q-Tip & Kanye West)
8. Who Gon Stop Me (Produced by Sham “Sak Pase” Joseph & Kanye West)
9. Murder To Excellence (Produced by Swizz Beatz & S1)
10. Welcome To The Jungle (Produced by Swizz Beatz)
11. Made In America feat. Frank Ocean (Produced by Sham “Sak Pase” Joseph) [previously Sweet Baby Jesus]
12. Why I Love You feat. Mr Hudson (Produced by Mike Dean & Kanye West)
Deluxe Edition Tracklist
1. No Church In The Wild feat. Frank Ocean (Prod. By Kanye West, Mike Dean & Ken Lewis)
2. Lift Off feat. Beyoncé (Prod. By Kanye West, Mike Dean, Jeff Bhasker, Q-Tip & Don Jazzy) (Add Vocals. By Seal, Mr Hudson, Don Jazzy, Bankulli and Ricardo Louis)
3. Niggas In Paris (Produced by Hit-Boy)
4. Otis feat. Otis Redding (Produced by Kanye West)
5. Gotta Have It (Produced by The Neptunes)
6. New Day (Produced by The RZA)
7. That’s My Bitch (Produced by Q-Tip & Kanye West)
8. Who Gon Stop Me (Produced by Sham “Sak Pase” Joseph & Kanye West)
9. Murder To Excellence (Produced by Swizz Beatz & S1)
10. Welcome To The Jungle (Produced by Swizz Beatz)
11. Made In America feat. Frank Ocean (Produced by Sham “Sak Pase” Joseph) [previously Sweet Baby Jesus]
12. Why I Love You feat. Mr Hudson (Produced by Mike Dean & Kanye West)
13. Illest Motherfucker Alive (Produced by Southside & Kanye West)
14. H•A•M (Produced by Lex Luger and Kanye West)
15. Primetime (Produced by No I.D.)
16. The Joy feat. Curtis Mayfield
Production Credits
No Church In The Wild feat. Frank Ocean
(K. West, S. Carter, C. Njapa, M. Dean, F. Ocean, G. Wright, J. Loudermilk, P. Manzanera. J. Brown, J. Roach)
Please Gimme My Publishing|EMI Blackwood Music Inc. (BMI)/EMI April Music, Inc.|Carter Boys Music (ASCAP)/Papa George Music (BMI)/EMI Blackwood Music (BMI)/Bug Music|Heavens Research (BMI)/Blue Mountain Music Ltd. o/b/o Catherine’s Peak Music (BMI)/Universal Songs of PolyGram International, Inc./Universal Cedarwood Publishing (BMI)/Universal Music-MGB Songs (ASCAP)/Dynatone Publishing Co. (BMI)/Intersong-USA (ASCAP)
Produced by Kanye West for Very Good Beats/Hip Hop since 1978 and 88-Keys for Keys Open Doors, LLC
Lift Off feat. Beyoncé
(K. West, S. Carter, J. Bhasker, M. Dean, S. Samuel)
Please Gimme My Publishing|EMI Blackwood Music Inc. (BMI)/EMI April Music, Inc./Carter Boys Music (ASCAP)/Way Above Music (BMI)|Sony ATV Songs LLC (BMI)/Papa George Music (BMI)/SPZ Music Inc. (BMI)
Produced by Kanye West for Very Good Beats/Hip Hop since 1978, Jeff Bhasker, and Mike Dean for Dean’s List Productions
Additional Production by Q Tip and Don Jazzy
Recorded by Noah Goldstein at Barford Estate, Sydney, AU
Additional programming by LMFAO, Anthony Kilhoffer and Hit-Boy for Very Good Beats
Mixed by Noah Goldstein, Mike Dean, LMFAO and Anthony Kilhoffer at (The Mercer) Hotel, New York
Additional vocals: Seal, Mr Hudson, Don Jazzy, Bankulli and Ricardo Louis
Beyoncé appears courtesy of Columbia Records
Seal appears courtesy of Warner Bros. Records
[NFP: Kanye West, Shawn Carter, Jeff Bhasker, Mike Dean, Seal Henry Olusegun Olumide Adeola Samuel]
Niggas In Paris
(K. West, S. Carter, C. Hollis, M. Dean, W. A. Donaldson)
Please Gimme My Publishing|EMI Blackwood Music Inc. (BMI)/EMI April Music, Inc.|Carter Boys Music (ASCAP)/Hit-Boy Music/U Can’t Teach Bein the shhh/Songs of Universal (BMI)/Papa George Music (BMI)/Unichappell Music, Inc. (BMI)
Produced by Hit-Boy for Hit-Boy Music Inc./Very Good Beats and Kanye West for Very Good Beats/Hip Hop since 1978
Co-Produced by Mike Dean for Dean’s List Productions
Additional Production by Anthony Kilhoffer
Recorded by Noah Goldstein at Le Meurice, Paris, France
Mixed by Mike Dean for Dean’s List Productions and Anthony Kilhoffer at (The Mercer) Hotel, New York
[NFP: Kanye West, Shawn Carter, Chauncey Hollis, Mike Dean, W. A. Donaldson]
Otis feat. Otis Redding
(K. West, S. Carter, H. Woods, J. Campbell, R. Connelly, K. Robinson, R. Hammond, J. Brown, J. Roach)
Please Gimme My Publishing|EMI Blackwood Music Inc. (BMI)/EMI April Music, Inc.|Carter Boys Music (ASCAP)/EMI Robbins Catalog Inc. (ASCAP)/BMG Gold Songs/Hot Buttermilk Music, Inc. (ASCAP)/BMG Platinum Songs/First Priority Music (BMI)/Tufamerica Inc. d/b/a Swing Beat Songs (BMI)/Dynatone Publishing Co. (BMI)/Intersong-USA, Inc. (ASCAP)
Produced by Kanye West for Very Good Beats/Hip Hop since 1978
Recorded by Noah Goldstein at (The Mercer) Hotel, New York
Mixed by Anthony Kilhoffer at (The Mercer) Hotel, New York
[NFP: Kanye West, Shawn Carter, Harry Woods, Jimmy Campbell, Reg Connelly, Kirk Robinson, Roy Hammond, James Brown, Joseph Roach]
Gotta Have It
(K. West, S. Carter, P. Williams, J. Brown, J. Roach, F. Wesley, T. Pinckney)
Please Gimme My Publishing|EMI Blackwood Music, Inc. (BMI)/EMI April Music, Inc./Carter Boys Music (ASCAP)/More Water From Nazareth Publishing, Inc./EMI April Music, Inc. (ASCAP)/Dynatone Publishing Co. (BMI)/Intersong-USA, Inc. (ASCAP)/Metro-Goldwyn-Mayer Music Inc./Donna Dijon Music Publications/Unichappell Music, Inc. (BMI)
Produced by The Neptunes
Co-Produced by Kanye West for Very Good Beats/Hip Hop since 1978
Recorded by Noah Goldstein at Tribeca Grand Hotel, NYC and (The Mercer) Hotel, New York
Mixed by Noah Goldstein and Mike Dean for Dean’s List Productions at (The Mercer) Hotel, New York
Additional vocals: Kid Cudi
Kid Cudi appears courtesy of Universal Motown Records
[NFP: Kanye West, Shawn Carter, Pharrell Williams, James Brown, Joseph Roach, Tony Pinckney, Fred Wesley]
New Day
(K. West, S. Carter, R. Diggs, M. Dean, L. Bricusse, A. Newley)
Please Gimme My Publishing|EMI Blackwood Music Inc. (BMI)/EMI April Music, Inc.|Carter Boys Music (ASCAP)/Ramecca Music|Universal Music-Careers Publishing (BMI)/Papa George Music (BMI)/Richmond Organization o/b/o Musical Comedy Productions (BMI)
Produced by The RZA, Kanye West for Very Good Beats/Hip Hop since 1978 and Mike Dean for Dean’s List Productions
Additional production by Ken Lewis
Recorded by Noah Goldstein at Le Meurice, Paris, France and Tribeca Grand, NYC
Mixed by Mike Dean for Dean’s List Productions at (The Mercer) Hotel, New York
Additional creative input: DJ Magnum
[NFP: Kanye West, Shawn Carter, Robert Diggs, Mike Dean, Leslie Bricusse, Anthony Newley]
That’s My Bitch
(K. West, S. Carter, K. Fareed, J. Vernon, J. Brown, B. Byrd, R. Lenhoff, J. Lordan)
Please Gimme My Publishing|EMI Blackwood Music Inc. (BMI)/EMI April Music, Inc.|Carter Boys Music (ASCAP)/Universal Music-Z Tunes (ASCAP)/April Base Publishing|Chrysalis Music (ASCAP)/Crited Music, Inc. (BMI). All rights administed by Unichappell Music, Inc. (BMI)/Regent Music Corp. (BMI)
Produced by Q-Tip and Kanye West for Very Good Beats/Hip Hop since 1978
Additional Production by Jeff Bhasker
Recorded by Andrew Dawson, Mike Dean for Dean’s List Productions and Anthony Kilhoffer at Avex Recording Studio, Honolulu, HI
Assisted by Gaylord Holomalia and Christian Mochizuki
Mixed by Q-Tip and Blair Wells at MSR Studios, NYC
Assistant Engineer: Chris Soper
Additional vocals: Ely Jackson, Connie Mitchell and Justin Vernon
Justin Vernon appears courtesy of Jagjaguwar Records
[NFP: Kanye West, Shawn Carter, Kamaal Fareed, Justin Vernon, James Brown, Bobby Byrd, Ronald Lenhoff, Jeremiah Lordan]
Who Gon Stop Me
(K. West, S. Carter, S. Joseph, M. Dean, J. Kierkegaard)
Please Gimme My Publishing|EMI Blackwood Music, Inc. (BMI)/EMI April Music, Inc.|Carter Boys Music (ASCAP)/Sham Joseph Publishing Designee (BMI)/Papa George Music (BMI)/Sony/ATV Music Publishing (UK) Ltd. (PRS)
Produced by Sham “Sak Pase” Joseph and Kanye West for Very Good Beats/Hip Hop since 1978
Additional Production by Mike Dean for Dean’s List Productions
Recorded by Noah Goldstein at (The Mercer) Hotel, New York
Mixed by Mike Dean for Dean’s List Productions at (The Mercer) Hotel, New York
Additional vocals: Mr Hudson
[NFP: Kanye West, Shawn Carter, Shama E. Joseph, Mike Dean, Joshua Kierkegaard]
Murder To Excellence
(K. West, S. Carter, K. Dean, L. Griffin Jr., S. Mescudi, Q. Jones, H. Mason Jr., J. Rosenbaum, C. Semenya, B. Summers, M. Modorcea, G. Modorcea)
Please Gimme My Publishing|EMI Blackwood Music Inc. (BMI)/EMI April Music, Inc./Carter Boys Music (ASCAP)/Swizz Beats|Universal Tunes, a division of Songs of Universal (SESAC)/Vohndee’s Soul Music Publishing (ASCAP)/Papa George Music (BMI)/ Elsie’s Baby Boy|Kobalt Songs Music Publishing (ASCAP)/Universal Music Corp. o/b/o Warner Olive Music LLC (ASCAP)/Songs of Universal, Inc. o/b/o Warner-Barham Music LLC (BMI)/Imagem Sounds (ASCAP)
Produced by Swizz Beatz and S1 for Soul Kontrollaz Productions/Very Good Beats
Recorded by Noah Goldstein at Real World Studios, Wiltshire, UK
Assisted by Mat Arnold
Mixed by Anthony Kilhoffer at (The Mercer) Hotel, New York
Additional vocals: Kid Cudi
Kid Cudi appears courtesy of Universal Motown Records
[NFP: Kanye West, Shawn Carter, Kasseem Dean, Larry D. Griffin Jr., Scott Mescudi, Quincy Jones, Harvey Mason Jr. Joel Rosenbaum, Caiphus Semenya, Bill Summers, Mihaela Modorcea, Gabriela Modorcea]
Welcome To The Jungle
(K. West, S. Carter, K. Dean, M. Dean)
Please Gimme My Publishing|EMI Blackwood Music, Inc. (BMI)/EMI April Music, Inc.|Carter Boys Music (ASCAP)/Swizz Beats|Universal Tunes, a division of Songs of Universal (SESAC)/Papa George Music (BMI)
Produced by Swizz Beatz for Swizz Beatz Productions
Co-Produced by Mike Dean for Dean’s List Productions
Additional production by Ken Lewis
Recorded by Noah Goldstein at Tribeca Grand Hotel, NYC and (The Mercer) Hotel, New York
Mixed by Mike Dean for Dean’s List Productions at (The Mercer) Hotel, New York
Additional vocals: Swizz Beatz, Acapella Soul
[NFP: Kanye West, Shawn Carter, Kasseem Dean, Mike Dean]
Made In America feat. Frank Ocean
(K. West, S. Carter, S. Joseph, F. Ocean)
Please Gimme My Publishing|EMI Blackwood Music Inc. (BMI)/EMI April Music, Inc.|Carter Boys Music (ASCAP)/Sham Joseph Publishing Designee (BMI)/Bug Music|Heavens Research (BMI)
Produced by Sham “Sak Pase” Joseph
Additional Production by Mike Dean for Dean’s List Productions
Recorded by Noah Goldstein at (The Mercer) Hotel, New York
Mixed by Mike Dean for Dean’s List Productions and Anthony Kilhoffer at (The Mercer) Hotel, New York
Violin: Laura Escudé
[NFP: Kanye West, Shawn Carter, Shama E. Joseph, Frank Ocean]
Why I Love You feat. Mr Hudson
(K. West, S. Carter, M. Dean, P. Cerboneschi, H. Blanc-Francard, T. Camillo, M. Sawyer)
Please Gimme My Publishing|EMI Blackwood Music Inc. (BMI)/EMI April Music, Inc./Carter Boys Music (ASCAP)/Papa George Music (BMI)/EMI Unart Catalog Inc. (BMI)/Kama Sutra Music, Inc. (BMI)/Because Editions o/b/o itself, Headbangers Publishing, Motor Bass and Love Supreme
Produced by Mike Dean for Dean’s List Productions and Kanye West for Very Good Beats/Hip Hop since 1978
Recorded by Noah Goldstein at Real World Studios, Wiltshire, UK and Barford Estate, Sydney, AU
Assisted by Mat Arnold
Mixed by Mike Dean for Dean’s List Productions and Anthony Kilhoffer at (The Mercer) Hotel, New York
Cello: Chris “Hitchcock” Chorney
Cello arranged by Mike Dean
[NFP: Kanye West, Shawn Carter, Mike Dean, Philippe Cerboneschi, Hubert Blanc-Francard, Tony Camillo, Mary Sawyer]
Illest Motherfucker Alive
(K. West, S. Carter, M. Dean, J. Luellen, S. Mescudi)
Please Gimme My Publishing|EMI Blackwood Music Inc. (BMI)/EMI April Music, Inc./Carter Boys Music (ASCAP)/Papa George Music (BMI)/Southside Publishing Designee|Songs of Mizay (BMI)/Elsie’s Baby Boy|Kobalt Songs Music Publishing (ASCAP)
Produced by Southside for Mizay Entertainment, Kanye West for Very Good Beats/Hip Hop since 1978 and Mike Dean for Dean’s List Productions
Recorded by Noah Goldstein at Real World Studios, Wiltshire, UK
Assisted by Mat Arnold
Mixed by Mike Dean for Dean’s List Productions at (The Mercer) Hotel, New York
Cello: Chris “Hitchcock” Chorney
Cello arranged by Mike Dean
Additional vocals: Kid Cudi, Bankulli and Aude Cardona
Kid Cudi appears courtesy of Universal Motown Records
[NFP: Kanye West, Shawn Carter, Mike Dean, Joshua “Southside” Luellen, Scott Mescudi]
H•A•M
(K. West, S. Carter, L. Lewis, M. Dean)
Please Gimme My Publishing|EMI Blackwood Music Inc. (BMI)/EMI April Music, Inc./Carter Boys Music (ASCAP)/Kimani/Mizay Entertainment, Inc./Warner-Tamerlane Publishing Corp. (BMI)/Copyright Control
Produced by Lexus “Lex Luger” Lewis for Mizay Entertainment, Inc.
Co-Produced by Kanye West for Very Good Beats/Hip Hop since 1978
Additional Production by Mike Dean for Dean’s List Productions
Recorded by Noah Goldstein at Real World Studios, Wiltshire, UK and (The Mercer) Hotel, New York
Assisted by Mat Arnold
Mixed by Mike Dean for Dean’s List Productions at (The Mercer) Hotel, New York
Cello: Christopher “Hitchcock” Chorney
Cello arranged by Mike Dean
Additional vocals by Aude Cardona and Jacob Lewis Smith
Creative Direction: Riccardo Tisci
[NFP: Kanye West, Shawn Carter, Lexus Arnel Lewis, Michael Dean]
Primetime
(K. West, S. Carter, E. Wilson, R. Simmons, L. Smith, M. Reid)
Please Gimme My Publishing|EMI Blackwood Music Inc. (BMI)/EMI April Music, Inc.|Carter Boys Music (ASCAP)/Let The Story Begin Music Publishing/Chrysalis Songs (ASCAP)/Universal Music Publishing (ASCAP)/Songs of Universal Inc. (BMI)
Produced by NO ID for Rich Daily Since ‘71
Recorded by Noah Goldstein at (The Mercer) Hotel, New York
Mixed by Mike Dean for Dean’s List Productions at (The Mercer) Hotel, New York
[NFP: Kanye West, Shawn Carter, Ernest Wilson, Russell Simmons, Lawrence Smith, Maureen. Reid]
The Joy feat. Curtis Mayfield
(K. West, S. Carter, C. Mayfield, P. Phillips, S. Mescudi, J. Cameron, J. Zachary)
Please Gimme My Publishing|EMI Blackwood Music Inc. (BMI)/EMI April Music, Inc.|Carter Boys Music (ASCAP)/Soul Brother #1 (ASCAP)/Warner-Tamerlane Publishing Corp. (BMI)/Universal Music-Careers (BMI)/The Numero Group (BMI)
Produced by Pete Rock for Soul Brother #1 Productions and Kanye West for Very Good Beats/Hip Hop since 1978
Additional Production by Mike Dean for Dean’s List Productions and Jeff Bhasker
Recorded by Anthony Kilhoffer at Avex Recording Studio, Honolulu, HI
Assisted by Gaylord Holomalia and Christian Mochizuki
Mixed by Mike Dean for Dean’s List Productions
Keyboards, Bass: Mike Dean
Additional vocals: Kid Cudi, Charlie Wilson and Pete Rock
Kid Cudi appears courtesy of Universal Motown Records
[NFP: Kanye West, Shawn Carter, Curtis Mayfield, Peter Phillips, Scott Mescudi, John Cameron, John Zachary]
Drizzy took to twitter earlier to announce the release date of his sophomore album, Take Care. October 24, 2011 will be the date. One month after Cole? I’m sure Drake has something in store for us after hearing his past few songs.
Lil B is the type of artist that comes around only once in a while. His album released on iTunes yesterday but he decided to put up the free version for those that can’t afford it. Below is the tracklist. Download link: Lil B – I’m Gay (Album)
01 Trapped In Prison
02 Open Thunder Eternal Slumber
03 Game
04 Unchain Me
05 Neva Stop Me
06 Gon Be Okay
07 The Wilderness
08 I Hate Myself
09 Get it While It’s Good
10 I Seen That Light
11 My Last Chance
12 1 Time (rmx)
I happened to like the album and think you should give it a listen. Below is the blog Lupe wrote about his feelings on Lil B and the album.
I have a problem. It’s something that I noticed a while ago and I think its something that has to do with my introduction to a wide array of musical genres as a child. My problem is is that it’s really really hard for me to dislike music. I have such an appreciation for it in all its forms that I sometimes find myself listening to a schizophrenic range of sounds in the whip or on the iPod. You really have to go out of your way for me to just completely despise what someone creates musically. Now in the midst of this self-awareness I have discovered there is a certain context within music that I gravitate to more than others and that context is something that I have defined for myself as “Liberation Rock”. It can be described as music that is subversive, revolutionary, political, challenges the status quo, mostly positive and even militaristic. A few examples of this would be “Know Your Rights” by The Clash, “Politik Kills” by Manu Chao, “Gentleman” by Fela Kuti, “Do It Like A G-O” by The Geto Boys, “Confrontation” by Damian Marley, “Rush Of Blood To The Head” by Coldplay, “Everyman For Himself” by Billy Blue, “In One Ear” by Cage The Elephant, “The Catalyst” by Linkin Park, “Strange Fruit” by Billie Holiday and the list goes on. I guess up against my political and social upbringing songs and artists like these strike a chord with me. Now this affinity for “Liberation Rock” doesn’t negate or take away from songs and artists that don’t necessarily fall under that personal category for me. Dependent on the environment, I have the uncanny ability to sit and universally enjoy whatever is coming through the speakers at almost any given time. But songs that express the qualities of my very own genre of “Liberation Rock” definitely get more burn in the system by far. And as it happens through their music I develop an interest in the artist him or herself. Sometimes the journey into the world of the artist outside of the music they create can be fruitless and even disheartening. Quite literally your hero’s musically can be real assholes or morons in almost every other facet. But in all honesty that is a rare occasion. And even sometimes it’s the inverse and the personality and mentality of the artist outweighs the music they create and the person becomes more of an interest than his or her art. In regards to Lil B I must admit I’m somewhere in the middle of those extremes.
Before we get any deeper let me put my inherent biases on the table. First, I blindly and unconsciously love anything that comes out of the Bay Area of Northern California. It’s part honest respect for the cultural products that emerge out of that region and part happiness and empathy that in the midst of the social turmoil and raw violence and despair that has plagued that area for decades that artists reppin’ the Bay are capable to create and express themselves at all. I have the same appreciation for artists that carve out a name for themselves in Detroit and New Orleans. Second, my faith is in the youth. So I find myself constantly observing and trying to empower and support the youth in any way that I can. No matter what they create. Through the youth expressing themselves you have a golden opportunity to communicate and gain a new perspective on the ever changing world around us. It’s a beautiful thing.
So Lil B is from The Bay and he’s a youth hahaha we can stop right here! He already good in my book. But what gets Lil B admission into my coveted genre of “Liberation Rock” is his absolute lack of fear when it comes to challenging the status quo. Whether it be in hip-hop, which is very elitist and caste and class oriented, or just society in general, which is very elitist and class centric. His albeit “rocky” road musically has been honestly at times unbearable to walk on. Some of Lil B’s past works have been underwhelming to say the least and at moments I would seriously consider heading out for smoother pavement. But every now and again an absolute jewel would come to the surface and I’d find myself unable to fathom leaving this kids side for any reason. The vulgar lyrics, happy go lucky cooking dances and sometimes pointless stream of conscious style rambling started to give way to hints of a deadly serious revolutionary mentality lurking underneath. Now I’m not talking Dead Prez or Immortal Technique level stuff here but something just as powerful and meaningful. What I was witnessing was a man in the process of profound self-realization and self-awareness. And seeing that this road has led to the promised land in the form of “I’m Gay (I’m Happy)” has been for me just as fulfilling as the new understandings that I’m sure Lil Bars has come upon if the content of his new album is anything to go by.
First let me make something abundantly clear, the title “I’m Gay (I’m Happy)” I think is absolute genius. Those two words together side by side in almost any format in the society we live in can be a cultural and social death sentence. And in many places in the world (even here in the good ole’ US of A) they can mean an ACTUAL death sentence. I’m talking a shanked in the shower, beat with a bat, beheaded on Friday kinda death. The best and rarest of braveries is bravery in the face of death. Let’s be honest Lil B’s album probably won’t even be commercially released in certain countries because of the title alone. I just wish he did a song called “James Baldwin” and I would’ve loved to see you twitter-lectuals and goon rules street professors argue against one of the foremost, prominent black intellectual radicals the world has ever known who just so happened to be an overt homosexual but repped the ghettos of Harlem harder than Nicky Barnes and Rich Porter combined and took the struggles and achievements of the black and impoverished experience and intellectually and dazzlingly rubbed it all in the pasty face of the oppressive power structures of the time and this time as well! I wish a nigga would!!! Don’t matter if your gay, that’s between you and your religion. All I care about is if your down for the cause. Which a LOT of hetero’s ain’t. Go figure. Now the doper thing about the title is that it exposed the raw power of words and reinforces the concept that “perception is king” in a very simple and even remedial use of homonym (no pun intended but you gotta chalk that up as a mean double entendre!) The word “gay” referring to homosexuality in the minds of the “guilty” ,as well call them here, sent shockwaves throughout our hip-hop community. Making Lil B the target of attack and ridicule. But Lil B’s ultimate intention and preference for the word “gay” was its “one who is happy” definition. So basically my lil homey was being attacked for being happy. The poetic justice in that is awe inspiring. If that don’t speak to the conditions that exist in this world and this society I don’t know what does. Hate on somebody simply because they are happy or have found happiness. How many of us are innocent of that injustice? Not many. Including me at times. Now whether Lil B did that on purpose or not is really not an issue because the reality of someone (that would be me by the way) interpreting and analyzing his album title that deeply gives merit to his action regardless of his initial intent. I mean it is HIS album title.
I won’t carry on much longer but I did want to get to the content. Now normally reviewers delve deeply or comparatively lightly when talking about an album. They mention favorite songs or less than favorites for that matter, maybe even breaking them down and bringing finer points of production or lyrical execution to light. Well I’m not going to mess about with any of that. At the end of the day it’s all opinion and one man’s trash is another man’s treasure. If you like it you like it if you don’t you don’t. The reason I give this album entrance into my “Liberation Rock” library hangs on the power and impact of just one single, solitary line uttered by Lil B in the midst of the entire work that is “I’m Gay”. And that line is:
“The Hood Is A Lie!”
The modern processes of life experienced that would culminate in a 21 year old African American male who more than likely is a direct descendant of slaves, raised in a consumerist and corrupt society dominated by inequality, fear, system-trust and self-doubt, coming from a region of the country that is notoriously violent and self-destructive (to this day I still can’t believe The Tenderloin exists in these modern times), that more than likely has buried friends and seen raw poverty in the land of plenty, that has received a subpar education and has been profiled and downgraded even before the day of his birth on this soil, teased with excess and a little bit of the “good life” for the price of ones morals, freedom and even life itself, in the face of all that for him to say with confidence and surety that:
“The Hood Is A Lie!”
speaks louder to me than the best, most well-timed, Just Blaze produced and Hype Williams directed punchline any rapper can think of! You can’t buy that type of provocative, chilling social commentary. You have to live that. Furthermore it commands respect, and not that phony ass “48 Laws Of Power” “saw it on Gangland” respect either. I mean that Malcolm Martin Luther Junior respect. And if the youths are making these types of statements in these times and in the midst of all that is against them I have no choice but to be Gay (Happy) too!!!
So there you have it. I like Lil B.
Sincerely and with a gangsta ass “I-Wish-A-Nigga-Would” attitude,
Wasalu “Lupe Fiasco” Jaco
P.S. His album cover is better than yours too!